The role of a doctor is "curing imaginary ailments by means of medicine and suggestion, and leaving real ailments to nature aided by coloured water". Rosen, Carole (1994). The Goossens: A Musical Century. Boston: Northeastern University Press. ISBN 978-1-55-553210-9. Buried Alive is a 1908 comedy novel by the British writer Arnold Bennett. In 1913 Bennett adapted it as a play The Great Adventure. This later provided the basis for the 1968 musical Darling of the Day. Banfield, Stephen. "Goossens, Sir (Aynsley) Eugene", Grove Music Online, Oxford University Press, 1992. Retrieved 10 March 2021. Arnold Bennett wrote 30 novels and “His finest novels, including Anna of the Five Towns (1902), The Old Wives' Tale (1908), Clayhanger (1910) and Riceyman Steps (1923), are now widely recognised as major works.” [from: https://en.wikipedia.org/wiki/Arnold_... ] So this novel and 25 others did not make the cut. Oh well, what do reviewers know… 😏

https://libguides.staffs.ac.uk/c.php?g=683072&p=4874816. {{ cite web}}: Missing or empty |title= ( help) A facsimile edition of the manuscript has been published, which is a testament to Bennett's calligraphic skills. The original manuscript is in the Lilly Library, Indiana. Thisimage istaken from the props loan book of 1991/2. Itshows how great was the attention to historical accuracy in this dramatized version of Bennett’s novel. a b Birch, Dinah (ed). "Bennett, Arnold", The Oxford Companion to English Literature, Oxford University Press, 2009 (subscription required) The one thing that doesn’t surprise about this book, then, is the revelation that the passionate, impetuous Sophia has lived almost exactly the same life as Constance, who married the draper’s assistant, had a son and stayed in the house she was born in all her life. For Sophia, living through the siege of Paris and the Commune “meant chiefly that prices went down”. There is some irony in that observation, but it is not harsh or bitter. That, says Bennett, is what it is to be human.Bennett, Arnold (2012). John Shapcott (ed.). Punch and Judy. Margaret Drabble (foreword). Leek: Churnet Valley Books. ISBN 978-1-90-454683-2.

In 1923-24, Arnold Bennett and Virginia Woolf engaged in a literary debate on the modern novel. Poor Bennett fared no better than in his earlier exchange with George Bernard Shaw on the nature of dramaturgy. In her 1924 essay, "Mr, Bennett and Mrs. Brown," Woolf did not recoil at Bennett's criticism of her modernist and experimental challenge to the novel. For her, Bennett's writings presented artificial characters in which the excessive pedantic details of description and place obscured the creation of believable personages. The sometimes stale and exhausted form of the novels of Wells, Galsworthy, and Bennett were successfully challenged and largely undermined by Woolf and others. While the former two have survived to a limited extent among some current readers (and non-Derridean professors), Bennett has been largely neglected. Sadly, even his masterpiece, THE OLD WIVES TALE, with its evocative tale of two very different sisters over a 70-year period set in Stoke-on-Trent and Paris and encompassing a The book protagonist is a woefully shy and reclusive, yet very successful, painter named Priam Faril. When his valet Henry Leek dies, Priam assumes his identity, not through any calculated subterfuge on his part, but because the attending doctor assumes the corpse is Faril. Priam’s motivation for the deception is to save himself from the anxiety of dealing with others. I will refrain from describing anything further as the fun of the book is experiencing the slow development of the effects and consequences of this subterfuge. The story also contains numerous satirical observations on societal structures, doctors, lawyers, judges, artists and critics that add to the humor. So how do I convince you the story is so good, when it is not the plot that attracts? You will simply have to take my word for it. There is subtle humor in almost every line. And Priam, he is a real artist, an artist in his soul. I fell for him, as does somebody else. In her words, “Henry was a dreamer……but Henry was Henry. He was adorable, but he was Henry.” You’re confused? She’s convinced Priam is the valet. This woman is so down to earth, what she says has you smiling too!Life in Paris evidently helped Bennett overcome much of his remaining shyness with women. [28] His journals for his early months in Paris mention a young woman identified as "C" or "Chichi", who was a chorus girl; [29] the journals – or at least the cautiously selected extracts published since his death [30] – do not record the precise nature of the relationship, but the two spent a considerable amount of time together. [31] Wearing, J. P. (1982). The London Stage, 1910–1916: A Calendar of Plays and Players. Metuchen: Scarecrow. ISBN 978-0-8108-1596-4.

The traditional omelette was served at the Savoy until 2021. [162] In 2022 the omelette was replaced with a soufflé Arnold Bennett, with the same essential ingredients. [163] Bennett, Arnold (1901). Fame and Fiction: An Enquiry into Certain Popularities. New York: Dutton. OCLC 1045233933. He did a bit of everything. He learned about recipes and layettes, about making-up, making-ready and running-round. He reviewed plays and books... He acquainted himself with hundreds of subjects that would never have come his way otherwise... the domestic column told one "How to train a Cook", "How to keep parsley fresh", "How to make money at home", "How to bath the baby (Part One)". The knowledge was not wasted, for Bennett is one of the few novelists who can write with sympathy and detail about the domestic preoccupations of women. [14]A house of "perfect inconvenience" with lights that "were silently proving that man's ingenuity can outwit Nature" (i.e. night). Priam Farll is a wealthy, successful Edwardian artist (shortly before WW1) who is cripplingly shy. He lives the life of a recluse, mainly in Europe, with his valet, Henry Leek. He is not, initially, a sympathetic character, but he rapidly became one. Priam Farll es un exitoso y talentosísimo pintor que envía sus cuadros a la New Gallery de Londres. Sus cuadros se venden en altas cantidades de libras esterlinas pero posee un detalle particular: prácticamente nadie conoce su rostros ya que es extremadamente tímido. Blum, Beth (2020). The Self-Help Compulsion: Searching for Advice in Modern Literature. New York: Columbia University Press. ISBN 978-0-23-119492-1.